Adam Kaplan is an artist, a graduate of the Fine Arts department in Bezalel Academy in Jerusalem and the Academy of Fine Arts Vienna. Born in Jerusalem, he currently lives between Montreal and Berlin where he is studying under Hito Steyerl as a guest student in the Universität der Künste. He presented his works and texts at various exhibitions and conferences, including the Jerusalem Film Festival and the PostMedia Lab in Lüneburg. He has also recently published, together with Boaz Levin and Daniel Herleth, It’s Twighlight Again, Trois Chaînes Press, Berlin/Jerusalem (2013).
Adnan undertook his practice-based PhD on ‘FLOSSTV – Free, Libre, Open Source Software (FLOSS) within participatory “TV hacking” Media and Arts Practices’ at Goldsmiths, University of London.
Adnan’s research focuses on the influence of digitalisation and the new forms of (documentary-) film production, as well as the author’s rights in relation to collective authorship.
Ahmet Bülent Acar
Ahmet Bülent Acar is the designer of VV#10.
Ahmet Gürata teaches at the Department of Communication and Design, Bilkent University. He holds a PhD from the London Consortium, which examined remakes and cross-cultural reception in Turkish cinema. He has published research on the history of Turkish cinema, reception, remakes and documentary in anthologies and journals. He is on the advisory board of the Istanbul Film Festival and is program advisor for the Festival on Wheels. He is a member of Turkish Film Critics Association and Turkish Association of Documentary Filmmakers.
Ahmet Said Kaplan
Albert Figurt is an Italian musician and video-maker who constantly tries to understand the way we look at things. Albert has been previously involved in Video Vortex taking part of the conferences in Split and Brussels in which he has always combined theory and performance as a way to creatively approach and express his ideas. Indeed, he creates video pieces in the form of video-essays, mixing theory, practice and creativity in order to reflect on the medium through the medium itself. Albert is interested in the very meaning of the frame in our actual context; a setting in which we find ourselves surrounded by an uncontrollable rise of visual information, continuously and obsessively composing reality in which everything becomes susceptible to be filmed (and thus controlled) by the digital eye-mirror.
Alper Şen was born in 1977 in Ankara. He graduated from the Department of Political Science in Middle East University and then joined the graduate program in the Department of Radio, Television and Cinema in Ankara University. Since 2000, he worked as a director or artist with different video collectives in Turkey and Europe including; VideA, Cinema for Peace, Film Collective, Kozavisual, NisaMasa, Karahaber. In 2007, he completed his video-documentary “Scavengers from Hakkari to Ankara”, which has been screened in various film festivals and video exhibitions in Turkey and other countries. In 2009, Şen directed two documentaries on football in Germany and France for NTVSPOR. In 2010 he worked as an editor on the Antoni Muntadas’ video “On Translation: Açık Radyo”. In 2012 March, his video work with Oktay Ince about the scavengers in Ankara was presented in the video exhibition: “The Fire and The Wedding” in DepIstanbul. Currently he is coordinator of “artıkişler” a visual art platform established by independent visual artists and he is also a co-director of the documentary; “Looking for Abriskil” about the concept of national identity focusing on the case of Abkhazia.
Andreas Treske is an author, filmmaker and media artist. Currently he teaches in the Department of Communication and Design @ Bilkent University, Ankara. He was the organizer of the third Video Vortex conference in Ankara, and has participated in nearby all vortex activities. In 2013 the Institute of Network Cultures, Amsterdam published his essay “The inner life of video spheres”, which was presented @ VV#9.
Boaz Levin is an artist and writer based in Berlin. He studied at the Bezalel Academy of Arts and Design in Jerusalem and under Hito Steyerl at the Universität der Künste in Berlin. Levin has recently presented his work at the Transmediale(Berlin), Manofim (Jerusalem), Former West (HKW, Berlin), Video Vortex #9 (Lüneburg) and the Museum Für Fotografie, (Berlin). He was coeditor, together with Vera Tollman, OliverLeron Schultz and Filipo Spreaficio, of the VideoVortex #9 online hybrid video reader.
Daniel Herleth lives in Berlin and is working on a PhD with Prof. Felix Ensslin dealing with the image under digital conditions. He studied at the Staatliche Akademie der Bildenden Künste with Rainer Ganahl and lives in Berlin, working between artistic and academic practice and occasional art criticism (Spike). He recently showed work at Betongalerie (Hamburg) and at Galerie Weingrüll (Karlsruhe). Herleth is working as an editor and contributor for The New Document, a series of publications investigating into the shifts in the notions of the document together with John Beeson and Cameron Rowland.
Didem Pekün’s work explores both research and practice; conceptually it deals with the production of subjectivities within violent geographies, displacement, and contemporary border politics.
Her studio practice includes essayistic videos & writing, and her research is a practice-based PhD at Visual Cultures Department, Goldsmiths, University of London. Her videos have screened internationally at festivals and galleries, (Berlinale, Arnolfini, Oberhausen, Punto de vista, WOMEX, MUSAC) have received and been nominated to awards, (British Council, Dolby Digital), and attended residencies (like Delfina and Greenhouse).
She is also a faculty member at Media and Visual Arts Department at Koc University, teaching Aesthetics, Video art & Installation, and Documentary Film.
Ebru Yetiskin is an Istanbul based academic, art critic and curator. She studied Radio-TV-Cinema as a bachelor degree in Istanbul University, then attended the joint master programme on “Science, Technology and Society” in Université Louis Pasteur and Istanbul Technical University in 2001. She completed the PhD programme in Sociology in Mimar Sinan Fine Arts University in 2008, and conducted the preliminary phase of her thesis research in Centre Sociologie de L’Innovation in Ecole Nationale Supérieure des Mines de Paris as a visiting scholar with Bruno Latour and Antoine Hennion. Since 2002, she has been working as a researcher in Istanbul Technical University and teaching sociology and media in The Department of Humanities and Social Sciences. Yetiskin is a member of International Association of Art Critics (AICA). Since two years, she is conducting a research on how to read and write new media art by collaborating with new media artists and giving performance lectures, workshops and panels in New York, Berlin and Istanbul. She has recently curated an exhibition, Cacophony, in Acikekran New Media Art Gallery in Istanbul.
Artistic Director of Amber Platform Istanbul – www.amberplatform.org
Ersan Ocak is Assistant Professor at Communication & Design Department in Bilkent University. Being a cultural researcher, he also works as an independent filmmaker. He makes documentary films and experimental video art works.
His main research interests are documentary, video-art, new media storytelling (specifically new media documentary), and (visual) cultural studies. Recently, he makes research on essay film. He also has essay film projects, which will be designed in the form of new media storytelling.
Ersan Ocak is one of the founder members of Association of Documentary Filmmakers in Turkey. In 2010, he founded Cinema Lab, which is a collaborative research and production platform on cinema. In 2013, he founded New Media_OpenLab (www.nmopenlab.com) for practice-led research on new media storytelling. He also serves in the consultancy boards of several film festivals.
b. 1960, Izmir. Lives and works in Istanbul. Hale Tenger’s most recent solo shows were held at Galeri Nev, Istanbul (2013), Arthur M. Sackler Gallery, Smithsonian Institution, Washington DC, Green Art Gallery, Dubai (2011). Her works have been exhibited in group shows held at major institutions, as Museum Boijmans Van Beuningen, Rotterdam; Martin Gropius-Bau, Berlin; The New Museum of Contemporary Art, New York; Espace Culturel Louis Vuitton, Paris; Arter and Istanbul Modern. She has participated in numerous biennials, as 22nd São Paulo, 1st Manifesta, 4th and 3rd International Istanbul Biennials, 8th Havana and 2nd Johannesburg Biennial. There are two monographs published, “Stranger Within”, by YKY Publishers (2007) and “Mission Impossible” by Galeri Nev Publications (1997).
Hale Tenger’s works cut across conventional boundaries. She is known for her large scale installations based on an elaborate combination of unorthodox use of materials, including audio and video. Her sensible environments, video installations, as well as objects and video works, explore the collective consciousness with a subtle idiosyncratic humour. As one of the main female artist figures of Turkish contemporary art scene since 1990s, Tenger is well known for her materially layered visual and audio translations of trauma and alienation alongside her sharp ideological questioning and a keen desire on researching the borders between east and west, society and individual, personal memory and official history, past and future.
Jan Gerber is an artist and software developer from Berlin. He develops internet platforms for the production and distribution of video material, such as v2v.cc, 0xdb.org, pad.ma, dictionaryofwar.org. He has initiated research and public events on questions of intellectual property and piracy in projects such as Pirate Cinema and The Oil of the 21st Century. He works on the free and open video codec Ogg Theora and related tools ffmpeg2theora and Firefogg.
Associate Professor Lewis Johnson teaches and researches in histories and theories of art, media and visual culture with research specialisms in image theory, philosophy of art, art theories, histories of art in Europe, Turkey and North America since 1750, and in theorizations of media, culture and spectatorship. His ‘Unattached to Detachment: Crossings of Gender, Sexuality and Space in Art in Istanbul’ was published in Third Text (2013) and the edited collection Mobility and Fantasy in Visual Culture by Routledge in 2014. He lives in Istanbul.
Milena Szafir is regarded as creator of the first live mobile webtv from streets via cellphones (2006-2009), one of the pioneers in the Brazilian live cinema [vj’ing] scene and received in 2011, for the body of work, the “Sérgio Motta Art and Technology Award”. During the last fifteen years she has been drawing and teaching several media lesson plans, from open audiovisual workshops to graphic & motion design graduate courses and, as a Professor in the Federal University, in 2013 she wrote the initial lines to propose a transdisciplinary media lab in Brazil using obsolete hardwares [from Film-TV-Video realities] as literacy and teaching tools, beyond their necessary preservation. Her research issues are on the audiovisual apparatus [experimental practices and aesthetics], focusing low & high technologies, video editing-montage, online remix issues, surveillance situations, spectacle media and the sci-fi field.
From http://bookchin.net/bio.html: Natalie Bookchin’s work explores some of the far-reaching consequences of Internet and digital technologies on a range of spheres, including aesthetics, labor, leisure, and politics. Using a range of forms from video installations to web projects, her work addresses the ramifications of mass connectivity and global flows of images on our identities, our desires, and the truths we tell about ourselves and the world. It grapples with questions that arise as new technologies expand our capacity to control, order, track, regulate, and rationalize the body – a body under surveillance, defined by genetics, gendered through computer games, and situated in front of screens.
Recent video installations explore the relationship between so-called participatory culture and the public sphere. The work investigates how the concepts of public space and identity are transformed in an era of ubiquitous connectivity and small screens. In multi-channel installations, Bookchin assembles found online videos into collective performance of identity, of race, and of politics. Her most recent project in progress, Long Story Short, examines links between the rise in digital culture and the drastic increase in poverty and income inequality. The project attempts to create a missing archive of media, making evident the limits of visibility in commercial social media, and aiming to create media that are truly more social.
In the 1990s, Bookchin began working with the internet as a “site” and medium for art making, viewing, and distribution. Her artwork took a variety of forms – from online computer games, collaborative performances and “hacktivist” interventions, to interactive websites and widely distributed texts and manifestos. She was a member of of the art/activist collective Rtmark and was a part of a loosely knit group of artists making something then known as “net.art”. They used the Internet to engender participation and to reach beyond art audiences, inventing new art and activist forms along the way. An early work, The Intruder (1999), was an adaption of a short story by Jorge Luis Borges that used a series of classic videogames to propel the story forward, and was innovative in its use of gaming as a strategy for interactive storytelling, and merging literature, art and games, while Metapet (2002) was an online multi-player game that explored the intersection of biotechnology, labor, and corporate culture, and rewarded players for breaking rules. Both projects reversed the logic of game play — players were punished for winning and rewarded as they lost. In 1999-2000, Bookchin organized an eight month series of lectures and workshops on art, activism, and the Internet at CalArts, LA MOCA , and Laboratorio Cinematek in Tijuana. Over the years, as the internet became more commercial, more regulated, and more fully integrated into daily life, she began to take her work offline, into environments where she could better manage and control the viewing conditions of her increasingly time-based practice.
Bookchin’s work has been written about in many journals and books, including most recently The Archive Effect, Routledge Press, 2013, and An Aesthesia of Networks, MIT Press 2013. Her work is exhibited widely including at MoMa, LACMA, PS1, Mass MOCA, the Walker Art Center, the Pompidou Centre, MOCA Los Angeles, the Whitney Museum, the Tate, and Creative Time. She has received numerous grants and awards, including from Creative Capital, California Arts Council, the Guggenheim Foundation, the Durfee Foundation, the Rockefeller Foundation, California Community Foundation, the New York State Council for the Arts, the Daniel Langlois Foundation, a COLA Artist Fellowship, the Center for Cultural Innovation, and most recently, the MacArthur Foundation. Bookchin has been on the faculty of the Photography & Media Program in the Art School at CalArts since 1998. She is currently on leave from Calrts, livingin Brooklyn and teaching media art at the Mason Gross School of the Arts at Rutgers University.
Nezih Erdoğan teaches Film Theory, Early Cinema, Sound and Cinema and Screenwriting at Istanbul Şehir University. He has extensively published on Turkish popular cinema, early cinema, the reception of American cinema in Turkey, and censorship. He has completed a research project aiming at creating an electronic database making accessible documents on the early years of cinema in Turkey(arsivsinemaseyir.com) and has been co-organising international events for several years on early cinema, particularly concentrating on the Ottoman era, and exhibition of archive material. He is currently working on a book project on the emergence of the modern spectator at the turn of the 20th century in Istanbul.
Oliver Lerone Schultz
Studies in philosophy, history of science, and ethnology, followed by research in media theory, embodiment and theory of performativity (FU Berlin 1999-2003). Oliver co-initiated several independent media projects like the globale-Filmfestival, laborB* (both 2003-2010) and Visions of Labor (2007/08). Bridging different fields of reflection and theory, he was active as curator (e.g. Zerklüftete Zukunft/Fractal Future, 2007; labor mov[i]e, 2003-2010). He was also active in the conception of trans-academic events: Utopische Körper/Utopian Bodies (2003); Travestien der Kybernetik/Travesties of Cybernetics (2005); Mapping Anthropotechnical Space(2007) – some collected under the label eXpolar.de (2005-2007). This was followed by research on Imagecultures at Berlin-Brandenburg Academy of Sciences (2010-2011), resulting in the publication IMAGE MATCH. Oliver joined the Center for Digital Cultures in its early formational phases (2011), becoming co-curator of Post-Media Lab. As such he is deeply immersed into network-building in the contexts of new media culture, as conceptioner/curator of a whole range of post-media related events, workshop and exhibitions. He is co-editor and -author of Provocative Alloys – a Post-Media Anthology, part of the PML-Books series (http://www.postmedialab.org/provocative-alloys-post-media-anthology). In a curating role he was, most recently, responsible for Video Vortex #9, Re:assemblies of Video (2013) and was involved in its recent hybrid publication format (interlace.videovortex9.net/). Starting 2014 Oliver will be Principal Investigator within the project Making Change with the Common Media Lab – scrutinizing questions and contexts of collective vision and social change in globalized societies and media-spheres. > lerone.net
Özge Çelikaslan lives and works in Istanbul. She belongs to the young generation of video artists and researchers in Istanbul contemporary art scene. She is member and co-founder of Koza Visual Culture and Arts Association, Artıkişler/Wastedworks and Videoccupy activist and artist collectives that make outstanding contributions to the development of artistic production with videos having strong social and political concepts. Her PhD research is on the political aesthetics of video art in Turkey. Her videos and short films exhibited at international film festivals and contemporary art galleries in group exhibitions. She is currently working on digital media archive project of social and political movements in Turkey.
Paola Barreto is a visual artist interested in video circuits, media archeology and hybrid systems. Her work unfolds in film, video, installation, urban intervention and performance. She is a PhD Candidate at School of Fine Arts at Rio de Janeiro University, in Brazil, and currently a visiting scholar at UdK- Berlin.
Patricia de Vries is project coordinator at the Institute of Network Cultures, and is responsible for coordinating current research projects. Patricia has an academic formation in Media Studies (BA), Cultural Analysis (MA) and Liberal Studies (MA). Over the years, working with several media, cultural and research institutions in different capacities, she gained a wide range of work experience in research, editing, and project and event management. Among other things, she worked as a film programmer at Studio K, as an editor of the art magazine Simulacrum, and as a marketing and PR assistant at Boom Publishing House. From 2010 until 2012 she was based in New York where she served as a research and communications associate at the think tank World Policy Institute, and as a teaching assistant of prof. James Miller at The New School for Social Research.
Peter (*1964) was born and brought up in Northumberland, England. He studied French and Philosophy at Oxford University, before moving to Paris where he worked in publishing and journalism, and as a consultant to UNESCO. He lived in Egypt from 1997 to 2000. On his return to Europe, he started making agit-prop documentary films. Over time, his work has evolved beyond the purely political to engage with the experimental and avant-garde traditions, and to address wider philosophical issues. He has travelled and worked widely around the world, in particular in the Palestinian territories, where a number of his films were shot, and India, where he was a consultant for the International Society for Ecology and Culture.
His short films have won him the inaugural Northern Film and Media Sound and Image production grant, as well as prizes at Toma Unica (Madrid), Malescorto International Short Film Festival, and Kansas City Film Festival. His work has screened at the Edinburgh International Film Festival, Documenta Madrid, Ann Arbor Film Festival, Cinema Vérité (Tehran), Experiments in Cinema, Ecrans documentaires, Entrevues and Abandon Normal Devices, as well as at the Strasbourg Museum of Modern and Contemporary Art. His films are distributed by the Collectif Jeune Cinéma and Dérives magazine. He is currently based in Belgium, where he is preparing a PhD on vernacular video and documentary practice after the Arab Spring at MAD Faculty (PXL/Hasselt).
Sebastian Lütgert, artist, programmer, writer, co-founder of Bootlab and Pirate Cinema, and lives and works in Berlin. He has co-initiated a number of projects on intellectual property, cinema and the internet, including the cinema archive 0xdb.org, the Oil21.org project, and Pad.ma.
Shaina Anand is a filmmaker and media artist. She has been working independently in film/video since 1998. Prior to that, she assisted director Saeed Mirza on a number of projects including ˜A Tryst with the People of India” (1997), which resulted in a book-length critical text on the filming process. In 1999, she went to Temple University to pursue an MFA in Film/Media Arts on an Inlaks fellowship and returned in 2001, to form ChitraKarKhana, a fully independent unit for experimental media, based in Mumbai. Her works continue to be informed by an interest in media and information politics, and by a critique of documentary form and process. Recent interventions such as Rustle TV (2004), WI City TV (2005), Khirkeeyaan (2006), CCTV Social (2008) and Wharfage (2009) have deployed present and accessible technologies such as TV, radio, cable networks or cheap surveillance equipment for the creation of temporary communication zones, and micro-media landscapes. She is engaged in experimental pedagogy through various workshop-based and collaborative projects.
and the video collectives …
and many more …